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SOUVENIR 

The Birth of a Nation 

The Most Stupendous and Fascinating 

Motion Picture Drama Created 

in the United States 

Founded on Thomas Dixon's Story 
"THE CLANSMAN" 

PRODUCED UNDER THE PERSONAL DIRECTION OF 

D. W. GRIFFITH 



Scenario by D.W.GRIFFITH and FRANK E.WOODS 

Music by JOSEPH CARL BREIL 

Photography by G. W. BITZER 



DIRECTION OF 
EPOCH PRODUCING CORPORATION 

H. E. AITKEN, President 




PUBLISHED BY 

THE EPOCH PRODUCING CORPORATION 

420 LONGACRE BUILDING 

NEW YORK CITY 





D. W. GRIFFITH, Presents 

THE BIRTH OF A NATION 



AN HISTORICAL DRAMA IN TWO ACTS 



Note. — There will be an intermission of eight minutes between Acts I. and II. 



CAST OF CHARACTERS 

COL. BEN CAMERON HENRY WALTHALL 

MARGARET CAMERON, the elder sister MIRIAM COOPER 

FLORA, the pet sister MAE MARSH 

MRS. CAMERON JOSEPHINE CROWELL 

DR. CAMERON SPOTTISWOODE AIKEN 

WADE CAMERON, the second son J. A. BERINGER 

DUKE CAMERON, the youngest son MAXFIELD STANLEY 

MAMMY, their faithful old servant JENNIE LEE 

HON. AUSTIN STONEMAN, Leader of the House RALPH LEWIS 

ELSIE, his daughter LILLIAN GISH 

PHIL, his elder son ELMER CLIFTON 

TOD, the younger son ROBERT HARRON 

JEFF, the blacksmith WALLACE REED 

LYDIA BROWN, Stoneman's mulatto housekeeper MARY ALDEN 

SILAS LYNCH, mulatto Lieutenant-Governor GEORGE SEIGMANN 

GUS, a renegade negro WALTER LONG 

ABRAHAM LINCOLN JOSEPH HENABERY 

JOHN WILKES BOOTH RAOUL WALSH 

GEN. U. S. GRANT DONALD CRISP 

GEN. ROBT. E. LEE HOWARD GAYE 

NELSE, an old-fashioned negro WILLIAM DeVAULL 

JAKE, a black man faithful unto death WILLIAM FREEMAN 

STONEMAN'S SERVANT THOMAS WILSON 

Cabinet Members, Generals, Military Aides and Attaches, Secretaries, Senators, Representa- 
tives, Visitors, Soldiers, Abolitionists, Ku Klux Klansmen, Plantation Crowds and Mobs. 

THE GRIFFITH TRADE MARK 

All pictures produced by David W. Griffith have the name Griffith in the upper corners 
of the film and the initials D. G. on the lower border line. There are no exceptions to this 
rule. Mr. Griffith has several new productions under way which will be announced from time 
to time. His next big production will be "The Mother and the Law," a story of modern life 
in America. 

Entire production under the personal direction of D. W. GRIFFITH 



Photography by G. W. BITZER 



Music by JOSEPH CARL BREIL 





(Copyright 1915 by Theodore Mitchell 





&Mr 



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"The most beautiful picture eoer put on canvas, the 
finest statue ever carved, is a ridiculous caricature 
of real life compared with the flickering shadow 
of a tattered him in a backwoods nickelodeon." 



^^]fl 1 1 K ii bo ve assertion was made by Dr. E. E. Slosson, of Columbia In 

in an article entitled "The Birth of a New Art" which was published m 
the Independent of April 6th, 1914. 

On April 1st, 1914, David Wark Griffith, the subject of this sketch, 
set to work laying the ground plans for a great picture which has since 
been introduced to the world under the name "The Birth of a Nation." 

Neither Dr. Slosson nor Mr. Griffith knew of the other's mental processes. While 
one was proclaiming the dawn of a new era the other was at work upon the long looked- 
for American play. It is rare to find prophesy and fulfillment so closely linked together. 

No discussion of the relationship of motion picture art to contemporary life can be 
complete without a knowledge of what D. W. Griffith has done to develop and enlarge 
the artistic standards of motion photography. There is in his work a distinctive touch 
of individual craftsmanship; an all embracing attention to detail which has come to be 
known as the Griffith art. 

No form of expression seeking to reveal t e truths and beauties of life has ever made 
such progress within a given lapse of time as motion photography. Perhaps this is be- 
cause motion is the essence of realism and fife itself is but a part of the impulse of the 
universe, motion. 

In developing the dramatic possibilities of the screen dramas Griffith has shown 
that he is not only a poet. He is a master technician. His accomplishments are the 
major part of the history of motion pictures in America. He is the creator of practi- 
cally every photographic and dramatic effect seen today. He is responsible for nearly 
every innovation of the past decade. He was the first producer to bring rhythm and 
perspective into motion pictures and make them the background of his story. 

Griffith's poetic imagination stretches across dreamy dales, through swaying trees, 
back to distant mountains with their snow crested tops blazing in the sunlight, it reaches 
across the lapping waves of a deep blue sea to what seems the end of the universe. From 
one of these far away vistas he brings forth a young girl and shows her progress until she 
comes so close you see a tear drop quiver on her eyelid before it falls to her cheek. This 
you see so clearly that through her eyes you read her innermost emotions. It seems 
almost too intimate, too realistic. 

And then in a flash you see great plains and on them nations grappling in their death 
throes and worlds battling for military supremacy. Such sequences and multiplicities 
of action appear quite simple now, yet they had to be carefully thought out. We say 
with pride that an American invented the technique required to produce them. 

When Griffith began directing picture plays the idea of showing human beings 
otherwise than full length was regarded as rank heresy. He created the "close up." 



When he first photographed the faces of his actors, withholding everything not essential 
to the needed effect, audiences that now applaud, showed their disapproval by stamp- 
ing their feet upon the floor. Critics said his characters did not walk into the pictures, 
but swam in without legs or arms. He next conceived the idea of the "switch back." 
By this device he shows a character under certain circumstances and the next instant 
by switching the action back to something seen before he makes you see what the char- 
acter is thinking of. An improvement upon the original idea he accomplished by the 
slow fading in and out of mystical or symbolic figures which make you see what other 
characters are thinking of, thus avoiding the harsh jumping from one scene to another 
which had been the rule before. 

While Griffith was making these mechanical improvements he was keenly alive to 
the needs of improved screen acting. No ten other men in America have developed so 
many film favorites. He is a born director of people, and can discover latent talent in 
a camera recruit quicker than any other man in the world. He loves to work with raw 
material and see a young player blossom into the full power of poetic expression. His 
aim has been to produce natural acting. The old jumpy-see-sawing of the arms and 
pawing of the air, mis-named pantomime, has disappeared under his watchful care. In 
less than six years Griffith has made screen acting a formidable rival of that seen on the 
legitimate stage. 

These developments are but details of the forward movement of the art of motion 
photography. The old stilted forms have passed. The motion picture artist must hence- 
forth be capable of taking infinite pains. He must have the poetic imagination and the 
technique to give expression to his dreams. With these requisites he becomes the super- 
artist of the new movement. This Griffith, whose vision leaps to the furtherest ends 
of the world of fancy — pausing here to note the smile in the eyes of Youth; then to see 
the shadow of sinister crime fall across the vision of unsuspecting Purity; picturing now 
a tear on a child's cheek; now a nation in the throes of war, while roses bloom and pas- 
toral scenes, such as Corot never dreamed of reproducing, form the background. These 
are the things that Griffith's art shows as no drama of the spoken word could hope to do. 
A new epic force illuminates human vision and human figures alive with the instincts 
and purposes of life obey the will of the super-artist. 

This pioneer who has done so much to show the possibilities of this new art is un- 
responsive when it comes to his personal life. He thinks only of his work. He holds 
that people are interested in the deeds that men do, rather than in who the men are. 
We asked Mr. Griffith for a biographical sketch. He answered that he was born in Ken- 
tucky, that he grew up in a house like most boys; started out after his school and col- 
lege days to find his place in the world, and that since he went into the business of pro- 
ducing pictures he has lived most of the time under his hat. 



A TRIBUTE TO 



"THE BIRTH OF A NATION" 



BY 



RUPERT HUGHES 




HEN a great achievement of human genius is put boforo us, we can 
become partners in it in a way by applauding it with something of the 
enthusiasm that wont into its making. It is that sort of collaboration 
that I am unpolled to attempt in what follows. 

When I saw "The Birth of a Nation" the first time, I was so over- 
whelmed by the immensity of it that I said : 
"It makes the most spectacular production of drama look like the work of village 
amateurs. It reduces to childishness the biggest things the theatre can do." 

For here were hundreds of scenes in place of four or five; thousands of actors in 
place of a score; armies in landscape instead of squads ot supers jostling on a platform 
among canvas screens. Here was the evolution of a people, the living chronicle of a 
conflict of statesmen, a civil war, a racial problem rising gradually to a puzzle yet un- 
solved. Here were social pictures without number, short stories, adventures, romances, 
tragedies, farces, domestic comedies. Here was a whole art gallery of scenery, of human- 
ity, of still life and life in wildest career. Here were portraits of things, of furniture, of 
streets, homes, wildernesses; pictures of conventions, cabinets, senates, mobs, armies; 
pictures of family life, of festivals and funerals, ballrooms and battlefields, hospitals 
and flower-gardens, hypocrisy and passion, ecstasy and pathos, pride and humiliation, 
rapture and jealousy, flirtation and anguish, devotion and treachery, self-sacrifice and 
tyranny. Here were the Southrons in their wealth, with their luxury at home, their 
wind-swept cotton fields; here was the ballroom with the seethe of dancers, here were 
the soldiers riding away to war, and the soldiers trudging home defeated with poverty 
ahead of them and new and ghastly difficulties arising on every hand. 

Here was the epic of a proud brave people beaten into the dust and refusing to 
stay there. 

The pictures shifted with unending variety from huge canvasses to exquisite minia- 
tures. Now it was a little group of refugees cowering in the ruins of a home. A shift 
of the camera and we were looking past them into a great valley with an army fighting 
its way through. 

One moment we saw Abraham Lincoln brooding over his Emancipation Procla- 
mation; another, and he was yielding to a mother's tears; later we were in the crowded 
theatre watching the assassin making his way to and from his awful deed. 

The leagues of film uncoiled and poured forth beauty of scene, and face and express- 
ion, beauty of fabric and attitude and motion. 

"The Birth of a Nation" is a choral symphony of light, light in all its magic; the 
sun flashing through a bit of blown black lace and giving immortal beauty to its pattern; 
or quivering in a pair of eyes, or on a snow-drift of bridal veil, or on a moonlit brook or 
a mountain side. Superb horses were shown plunging and rearing or galloping with a 




-— «! 



tout-quickening glory of sjxwi down road and lane and through flying waters. Now 
came the thrill of a charge, 01 oi a plunging steed caught hack 00 its haunches in | Mid- 
den arrest. Now followed the terror of a bestial niol), the hurrah of a retOUe, 
filled with panic and with carnival. Life is motion and hero \\;is the beautiful moving 
monument of motion. 

"What could the Btage give to rival all this?" I thought. "What could the novel 
give? or the epic poem'.'" The Btage can publish the voice and the actual flesh; yet from 
the flhn these facts were eloquent enough without speech. And alter all when we see 
people we are merely receiving in our eyes the light that beats baok from their surfaces; 
we are seeing merely photographs and moving pictures. 

I hail witnessed numberless photoplays unrolled, pictures of every sort and con- 
dition of interest and value. I had soon elaborate "feature-tilms" occupying much time 
and covering many scenes. But none of them approached the unbroken fascination of 
"The Birth of a Nation." 

The realism of this work is amazing; merely sit at a window and actually roll by. 
The grandeur of mass and the minuteness of detail are unequalled in my experience. 
And so the first impression of my first view of this was that it was something new and 
wonderful in dramatic composition and in artistic achievement. 

In his novel "The Clansman," the Rev. Thomas Dixon had made a fervid defence 
of his people from the harsh judgments and condemnations of unsympathetic historians. 
With this book as a foundation, David W. Griffith built up a structure of national scope 
and of heroic proportions. 

Of course, size has little to do with art. A perfect statuette like one of the exquisite 
figurines of Tanagra is as great in a sense as the cathedral of Rheims. A flawless son- 
net of Milton's need not yield place to his "Paradise Lost." A short story of Poe's has 
nothing to fear from a cycle of Dumas novels, nor has "The Suwanee River" anything 
to fear from the Wagnerian tetralogy. 

And yet we cannot but feel that a higher power has created the larger work, since 
the larger work includes the problems of the smaller; and countless others. The larger 
work compels and tests the tremendous gifts of organization, co-ordination, selection, 
discipline, climax. 

One comes from this film saying: "I have done the South a cruel injustice, they 
are all dead, these cruelly tried people, but I feel now that I know them as they were; 
not as they ought to have been or might have been, but as they were; as I should prob- 
ably have been in their place. I have seen them in their homes, in their pride and their 
glory and I have seen what they went back to. I understand them better." 

And after all what more vital mission has narrative and dramatic art than to make 
us understand one another better? 

Hardly anybody can be found today who is not glad that Slavery was wrenched 
out of our national life, but it is not well to forget how and why it was defended, and by 
whom; what it cost to tear it loose, or what suffering and bewilderment were left with 
the bleeding wounds. The North was not altogether blameless for the existence of 
slavery, nor was the South altogether blameworthy for it or for its aftermath. "The 
Birth of a Nation" is a peculiarly human presentation of a vast racial tragedy. 

There has been some hostility to the picture on account of an alleged injustice to 
the negroes. I have not felt it; and I am one who cherishes a great affection and a pro- 
found admiration for the negro. He is enveloped in one of the most cruel and insoluble 




©EH. ROBT. K LEE'S LAST STAND ©N THE FAMOUS BATTLEFIELD OF PETERSBURG. VA, 



riddles of history. His position is the more difficult since those who most ardently 
endeavor to relieve him of his burdens are peculiarly apt to increase them. 

"The Birth of a Nation" presents many lovable negroes who win hearty applause 
from the audiences. It presents also some exceedingly hateful negroes. But American 
history has the same fault and there are bad whites also in this film as well as virtuous. 

It is hard to see how such a drama could be composed without the struggle of evil 
against good. Furthermore, it is to the advantage of the negro of today to know how 
some of his ancestors misbehaved and why the prejudices in his path have grown there. 
Surely no friend of his is to be turned into an enemy by this film, and no enemy more 
deeply embittered, 

"The Birth of a Nation" is a chronicle of human passion. It is true to fact and 
thoroughly documented. It is in no sense an appeal to lynch-law. The suppression of 
it would be a dangerous precedent in American dramatic art. 

If the authors are never to make use of plots which might offend certain sects, sec- 
tions, professions, trades, races or political parties, then creative art is indeed in a sad 
plight. 

"Uncle Tom's Cabin" has had a long and influential career. Perhaps no book ever 
written exerted such an effect on history. It was denounced with fury by the South as 
a viciously unfair picture. It certainly stirred up feeling, and did more than perhaps 
any other document to create and set in motion the invasion and destruction of the 
southern aristocracy. Yet it was not suppressed because of its riot-provoking tenden- 
cies. And it is well that it was not suppressed. 

"The Birth of a Nation" has no such purpose. It is a picture of a former time. 
All its phases are over and done, and most of the people of its time are in their graves. 
But it is a brilliant, vivid, thrilling masterpiece of historical fiction. Thwarting its 
prosperity would be a crime against creative art and a menace to its freedom. The 
suppression of such fictional works has always been one of the chief instruments of 
tyranny and one of the chief dangers of equality. 

I saw the play first in a small projecting room with only half a dozen spectators 
present. We sat mute and spellbound for three hours. When I learned that it had to 
be materially condensed it seemed a pity to destroy one moment of it. The next time 
I saw it was in a crowded theatre and it was accompanied by an almost incessant mur- 
mur of approval and comment, roars of laughter, gasps of anxiety and outbursts of ap- 
plause. It was not silent drama so far as the audience was concerned. 

The scene changed with the velocity of lightning, of thought. One moment we saw 
a vast battlefield with the enemies like midgets in the big world, the next we saw some 
small group filling the whole space with its personal drama; then just one or two faces 
big with emotion. And always a story was being told with every device of suspense, 
preparation, relief, development, and crisis. 

I cannot imagine a human emotion that is not included somewhere in this story 
from the biggest national psychology to the littlest whim of a petulant girl; from the 
lowest depths of ruthless villainy to the utmost grandeur of patriotic ideal. 

All of the seven wonders of the world were big things. I feel that David W. Griffith 
has done a big thing and he has a right to the garlands as well as the other emoluments. 
"The Birth of a Nation" is a work of epochal importance in a large and fruitful field of 
social endeavor. In paying it this tribute of profound homage, I feel that I am doing 
only my duty by American art, merely rendering unto Caesar the things that are Caesar's. 




3 



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A NATION IS BORN 

MONG our fathers lived a poet-leader who dreamed a new 
vision of humanity — that out of the ^conflicting interests and 
character of thirteen American States, stretching their terri- 
tories from the frosts of the north to the tropic jungles of 
Florida, there could be built one mighty people. For eighty 
years this vision remained a dream — sectionalism and dis- 
unity the grimmest realities of our life. 

Lord Cornwallis, the British Commander, had surrendered 
at Yorktown, Virginia to the allied armies of the Kingdom of 
France and the original thirteen States by name — New Hampshire, Massachusetts, 
Rhode Island, Connecticut, New York, New Jersey, Pennsylvania, Delaware, Virginia, 
Maryland, North Carolina, South Carolina, and Georgia. Through seventy-five years 
of growth 'and conflict these States clung to their individual sovereignty, feeling with 
jealous alarm the slow but resistless growth of a national spirit within the body of the 
Federal Union. This new being was stirred at last into conscious life by Daniel Webster's 
immortal words — 

"LIBERTY AND UNION, 

ONE AND INSEPARABLE, 

NOW AND FOREVER!" 

The issue, which our fathers had not dared to face — whether the State or the Union 
should ultimately have supreme rule — was joined in 1861 over the problem of the Negro. 

The South held with passionate conviction that we were a Republic of Republics, 
each State free and sovereign. The North, under the leadership of Abraham Lincoln, 
held that the Union was indestructible and its sovereignty supreme. 

Until Lincoln's day the right of each State to peaceful secession was scarcely dis- 
puted, North or South. New England had more than once threatened to withdraw 
long before South Carolina in her blind rage led the way. 

And yet, unconsciously, the new being within had grown into a living soul, and, in 
the mortal agony of four years of Civil War and eight years of more horrible Recon- 
struction, a Nation was born. 

THOMAS DIXON. 



[Copyrighted 1915] 



THK STORY OF THE PICTURE 




HE PIR8T ship that broughl ;i cargo of African slaves 
to North America Btarted the scries of troublous eve;, 
preceding the birth of a great nation. Abolition 
subsequently advocated, but the idea of social equality 

never considered. The South declared it would 
secede, if in 1SG0 a Republican president was elected 
That president, Abraham Lincoln, issued a call for 
75,000 volunteers. For the first time in American 
annals he used the Federal power to subdue the 
sovereignty of individual States. 

The Stoneman boys of Pennsylvania had been 
house guests at Piedmont, S. C, of their boarding- 
school chums, the Cameron boys. Phil Stoneman and 
Margaret Cameron, "fair as a flower," had looked, 
longed and loved. Ben Cameron had never met Elsie 
Stoneman, yet the daguerreotype of her he had pilfered 
from Phil seemed about the dearest, sweetest thing in 
the world. The younger lads of the two houses — too 
young for sentiment and romance — frolicked like 
friendly young colts. Most charming and lovable of 
all the Cameron clan was the Doctor and Mrs. 
Cameron's youngest daughter Flora. 
When War casts its shadow over the land, Phil and Tod Stoneman are summoned 
to fight for the Stars and Stripes; Ben Cameron and his two younger brothers, for the 
Stars and Bars. The grim years drag along. Piedmont gayly enters the conflict, but 
ruin and devastation follow. The town gets a foretaste of rapine and pillage in the raid 
of a mixed body of white and colored guerillas against it. The scale of events inclines 
to the Union cause. Southern wealth and resources are burned or commandeered by 
Sherman in his march to the sea. Meantime two of the Cameron boys have perished 
in battle, one of them face to face with his dying Chum Tod. Grant is pressing the Con- 
federacy in the famous campaign around Petersburg. When Confederate supplies are 
running low, one of their provision trains is cut off and the "little Colonel," Ben Cameron, 
is called upon by Gen. Lee to lead a counter attack and thus, by diverting the enemy, 
aid in the rescue of the train. We see the panorama of a battlefield flung over many 
miles of mountain and valley, the opposing intrenchments and the artillery fire, Col. 
Cameron and his men forming for the advance, their charge over broken ground, the 
grim harvest of death that swept most of them away, the bayonet rush of the devoted 
few right up to the trenches, the physical hand-grapple with the enemy, and Cameron, 



sole survivor, gaining the crest of the Federal works and falling wounded into the arms of 
Capt. Phil Stoneman, U. S. A., his erstwhile bosom friend. Prisoner in a Washington 
hospital, Ben Cameron slowly recovers from his wound. Like an angel of mercy Elsie 
Stoneman, Phil's sister, appears in the role of a volunteer nurse. Poor Ben falls des- 
perately in love with her whose picture he had carried about for years. She and Ben's 
mother visit Lincoln, "the Great Heart," who clears the "little Colonel" of an odious 
charge and hands Mrs. Cameron the boy's papers of release. 

It seemed to Austin Stoneman, leader of Congress and Elsie's parent, that Lincoln 
was pursuing too mild a policy with the prostrate South. "I shall treat them as if they 
had never been away" was Lincoln's gentle answer to Stoneman's demand that the 
leaders be hanged and measures of reprisal adopted. What was there in Stoneman's life 
that made him so bitter to the Southern whites? Stoneman purposed to establish the 
complete political and social equality of the negroes. He was grooming a half-breed 
protege, one Silas Lynch, to go South as the "leader of his people." 

The War ends in 1865 with the encirclement of the Southern army and the sur- 
render of Robert E. Lee to U. S. Grant in the historic house at Appomattox Courthouse- 
There follows a terrible tragedy — the assassination of President Lincoln by Wilkes Booth 
in the crowded scene of a festival performance at Ford's Theatre on April 14, 1865. The 
South feels — and feels truly — that it has lost its best friend. 

A few years later comes the real aftermath. Austin Stoneman, now supreme through 
the Congressional power of over-riding President Johnson's veto, goes south to supervise 
his "equality" programme. Elsie accompanies him, and so does Phil. They arrive in 
Piedmont and take a house next door to the Camerons. Elsie accepts the gallant little 
Confederate colonel, Ben Cameron, but the shadows of war-time hang too heavily over 
Margaret Cameron to permit her to make up at once with Phil. Meanwhile the reign 
of the carpet-baggers begins. The "Union League," so-called, wins the ensuing State 
election. Silas Lynch, the mulatto, is chosen Lieutenant-Governor. A legislature, with 
carpet-bag and negro members in overwhelming majority, loots the State. Lawlessness 
runs riot. Whites are elbowed off the streets, overawed at the polls, and often despoiled 
of their possessions. Ben Cameron then leads the white men of the country in organiz- 
ing the "invisible empire" of the Ku Klux Klan. Devoted women of the South make 
the white, ghost-like costumes behind locked doors. Austin Stoneman boils with rage 
over this newest development. Lynch's spies bring evidence that the garments are be- 
ing made by the Camerons and that Ben Cameron is night-riding. Stoneman bids Elsie 
to disavow her "traitorous" lover, and she, astonished and wounded that Ben is engaged 
is such work, gives him back his troth. 

Little Flora Cameron, the joy and pride of the Cameron household, was sought 
after by the renegade family servant Gus, who had become a militiaman and joined 
Lynch's crew. Often had Flora been warned by her brother and parents never to go 
alone to the spring in the woods hard by the cliff called Lover's Leap. Little heeding the 
admonition, she took her pail one day and started off. Gus the renegade followed. 
Frightened by his approach, the little girl broke into a run. Gus ran too. Colonel 
Cameron, learning that she had gone alone, hastened forth and was the third person in 
the chase. Desperately the little girl zigzagged this way and that, dodging the burly 
pursuer, then, almost cornered, she climbed to the jutting edge of Lover's Leap whence, 
as Gus approached nearer, she leaped to her death. Brother 3en discovered the poor 
dying girl a few minutes later. Gus escaped, but he was afterwards captured, tried and 




se-:sr[v£a.n's marsh to the ska- refugees flee:kg froih i ;ta 




THE DOMING OF BHOTHEHLY LCTE r&JTO THE HALLS ©? PEACE 



found guilty. Then the Ku Klnx Klan sent a messenger to the Titan of the adjoining 
county asking for re-inforcements to overawe the carpet-baggers and negroes. 

The next outrage upon the unhappy family was the arrest of Dr. Cameron for having 
harbored the clansmen. As the soldiers were parading him to jail, Phil Stoneman, now 
a warm sympathizer with the southerons, and some others organized a rescue party. 
They beat down the militia; the Doctor and his wife, Margaret, Phil and the faithful 
servants fled out into the country where they found refuge and warm hospitality in the 
log cabin of two Union veterans. The cabin was fortified and preparations were made 
against the militia's attack. 

We must now leave the handful of whites defending the log cabin from the militia- 
men and visit Lieutenant-Governor Lynch's mansion in Piedmont. Miss Elsie Stone- 
man is there on the errand of appealing to Lynch, the "friend" of her father in behalf 
of her brother and the Camerons. But instead Lynch siezes this opportunity to declare 
his "love" for his patron's beautiful daughter, says he will make her queen of his empire, 
and orders a negro chaplain to be sent for to perform a forced marriage. At this crucial 
moment, word is received of Congressman Stoneman's return. Lynch goes out to tell 
him that he (Lynch) aspires to the hand of the white man's daughter. Then Stoneman, 
the "social equalizer," the theoretical upholder of the intermarriage of blacks and whites, 
finds all his theories upset by the personal fact. Rage and storm as he will, Stoneman 
too is helpless. There is but one hope anywhere in prospect — the courageous and chi- 
valric host of Ku Klux riding for dear life towards Piedmont. 

Ben Cameron, the "little Colonel," is at their head. They are armed to the teeth 
and pledged to victory or death. As they rush the little mountain town, their guns mow 
down the militia troops opposing them; the Lynch mansion is taken, and Ben and his 
men bursting into the room free the Stonemans, Ben taking the overjoyed Elsie in his 
arms. But there is other work afoot. Quickly a detachment of the clansmen remount 
and hurry to the scene of the attack of the cabin. The little party within its besieged 
walls are almost at the last gasp. The militia raiders are forcing the doors, already half 
a dozen of them have gained the inside of the cabin, when the crack! crack! crack! of 
the Ku Klux rifles announce rescue and safety. The surprise attack routs the raiders 
completely, and the men and women of the party hug and kiss their deliverers. 

There is little left to tell. To Ben and Elsie, to Phil and Margaret, the sequel is 
a beautiful double honeymoon by the sea. To the American people, the outcome of 
four years of fratricidal strife, the nightmare of Reconstruction, and the establishment 
of the South in its rightful place, is the birth of a new nation. Lincoln's plan of restoring 
the negroes to Africa was dreamed of only, never carried out. The new nation, the real 
United States, as the years glided by, turned away forever from the blood-lust of War 
and anticipated with hope the world-millenium in which a brotherhood of love should 
bind all the nations together. 




ACTS ABOUT 

"THE BIRTH OF A NATION" 



There are over 5,000 distinct scenes in "The Birth of a Nation." 

18,000 people and 3,000 horses were Utilized in making the narrative. 

Mr. Griffith worked for s months without a let np to complete the picture. 

The approximate cost of the production was $500,000. The women's dresses of 
the period of I860 u^h\ np 12,000 yards of cloth. Over 25,000 yards of white material 
were sewed into the costumes of the Ku Klux Klans. 

200 seamstresses worked for two months to make these costumes historically cor- 
rect and appropriately picturesque. 

5,000 works and reports on the history of the Civil War and the periods immedi- 
ately leading up to and following the great conflict were searched for authentic data. 
This research was conducted by four college professors specially engaged upon it. 

Every piece of ordnance or musketry in the battle scenes is an exact reproduction 
of the artillery and arms used on both sides during the war of the 60's. 

For the assassination of President Lincoln, Ford's Theatre, Washington, was re- 
produced to the smallest detail. The scene itself was taken in the presence of several 
eye witnesses of the actual occurrence. These witnesses were in Ford's Theatre the night 
John Wilkes Booth's shot laid the great Lincoln low. 

To depict the ravages of Sherman's March to the Sea, a city was specially built, 
only to be destroyed before the eyes of the spectators of the picture. 

$10,000 a day was paid for the use of an entire county in order to reproduce the 
wild rides of the Klansmen. 

West Point engineers laid out the great battle scene of Petersburg from maps and 
reports in the War Department at Washington. Intimate details of the action supplied 
by veterans who fought on either side. 

Night photography was perfected for the first time to secure battle scenes in the 
dark. This detail cost $5,000. 

Great artillery duels actually reproduced. Specially prepared shells exploded at a 
cost of $80 each. 

A commissary and two hospital corps were maintained while the pictures were be- 
ing taken. Not a human life was lost. 

A musical score for 40 pieces composed and minutely synchronized to several thou- 
sand individual scenes. 

The condensed production represents 12,000 feet of film. Nearly 200,000 feet of 
film was originally taken. 





Recognition of a New Art 

"The Birth of a Nation" as presented by Mr. D. W. Griffith in New York City was a revelation that 
raised the standard of motion pictures one thousand per cent, in a night. It was a radical departure to 
present this photographic spectacle in one of the first-class metropolitan theatres which had never been 
used for a motion picture production before. A further daring achievement was to present the work at 
the same scale of prices charged for the finest dramatic offerings on the New York stage. The reception 
of the production was quite as unusual. All the recognized New York critics attended the opening per- 
formance, many for the first time writing a serious review of a picture drama. The chorus of praise 
was unanimous as well as astonishing. This united verdict was but a repetition of the wonderful things 
said of the work by men in every walk of life. U. S. Senators, Congressmen, artists, writers, illustrators, 
diplomats, historians, clergymen, in fact men of every profession expressed their appreciation in no 
uncertain terms. A few extracts from this world-wide chorus will serve to illustrate the case: 



"It shows war as it actually is." 

—Richard Harding Davis 

"In the short space of three hours the audience 
sees, hears and feels a period of fifteen years." 

— Rev. Father John Talbot Smith 

"It will take the whole country by storm." 

— Booth Tarkington 




"I know it is true because I lived through the 
actual realities it depicts." 

— Rev. Thomas B. Gregory 

"It is worth $5 a seat." — N .Y '.Evening Journal 

"You see, as the angels looking down from Heaven 
must have seen, exactly what took place fifty 
years ago." —Dorothy Dix 

"The biggest attraction of the season. It brings 
the audiences to their feet as no theatrical play 
has in many, many years." 

—James S. Metcalfe, in Life 

"The most glorious accomplishment in any art 
I have ever seen." 

—Governor Hiram Johnson of California 

"Only a genius could have conceived and pro- 
duced such an inspiring spectacle." 

— Amy Leslie, Chicago Daily News 

"The true greatness of the picture lies in its 
emotional appeal." —New York News 

"A new epoch in the art is reached." 

— New York Herald 
"It is big and fine." — Evening World 

"Wins popularity because of its thrilling war 
scenes." —New York Tribune 

"A masterpiece of a new form of art." 

— Chicago Tribune 





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"Never before has such a combination of spec- 
tacle and tense drama been seen." _w. Y. Sun 

"Achieved a striking degree of success." 

— New York Times 



'Made a profound impression. 



-N. Y. Press 



"Swept a sophisticated audience like a prairie 
fire before a whirlwind." —New York Mail 

"Beyond doubt the most extraordinary picture 
that has been seen." —New York Globe